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Piano Sonata No 3 in B minor, Op 58

Introduction

The Piano Sonata No 3 in B minor Op 58 was the last of Chopin’s three piano sonatas, written in 1844 during the years of his full maturity as a composer, and in contrast to the ‘Sonata funèbre’ it moves closer to conformity with both the formal and the generic archetypes of what was already becoming recognized as German sonata-symphonic thought. It is as though having come to terms with the four-movement sonata in Op 35, approaching it obliquely by way of the familiar ‘Chopin genres’ of the early 1830s, the composer now felt able to tackle this weighty genre on its own terms. This is apparent in the close-knit motivic argument—the developing variation—of the first movement, and in the measured tread—late Beethoven, late Schubert—of the slow movement. There are some parallels with Op 35, including the sequence of the inner movements where the scherzo precedes the slow movement, and again the inverted reprise of the first movement, but in most respects the two works are poles apart. The outer movements point up the contrast. There could be nothing further from the elliptical, understated finale of Op 35 than the grandiloquent sonata rondo with which Op 58 races, or rather gallops, to its bravura coda. This at least is a more conventional way to end a sonata! As for the first movement, this presents us with a much more closely argued thematicism than its counterpart in Op 35. The principal theme is strong and distinctive, but it is quickly broken down into motivic-contrapuntal working in a process of continuous development and transformation that then characterizes much of the movement. Considerable heads of tension are built up by this process, both in the exposition and in the development, and it is the function of the Nocturne-like second theme—one of Chopin’s happiest inspirations—to resolve them.

Recordings

'Rosenthal had an inimitably seductive manner of playing … with Ward Marston’s superb restoration and remastering, APR’s exemplary annotation and ...'The artistry of Moriz Rosenthal (1862-1946) arguably stands head and shoulders above all recorded Liszt pupils' (ClassicsToday.com)» More

'Lovely playing which I enjoyed from first note to last for its poetry and passion as well as seemingly effortless keyboard fluency and command' (Gram ...'The Scherzo is as light as gossamer and the finale has both a heroic sense of struggle and passages of the most delicate filigree. Demidenko keeps yo ...» More

Stephen Hough joins the celebrations for Chopin’s 200th birthday with a disc containing much of the composer’s most extraordinary music, written in the last years of his life where the possibilities of his art were constantly unfolding as he imbue ...» More

In this latest recording the great Marc-André Hamelin turns his attention to two mainstays of the Romantic repertoire: Chopin’s Piano Sonatas Nos 2 and 3. The results are simply staggering: playing of matchless brilliance and consummate artistry, ...» More

In this latest recording the great Marc-André Hamelin turns his attention to two mainstays of the Romantic repertoire: Chopin’s Piano Sonatas Nos 2 and 3. The results are simply staggering: playing of matchless brilliance and consummate artistry, ...» More

Since his triumph as winner of the 1970 Chopin International Piano Competition, Garrick Ohlsson has established himself worldwide as a musician of magisterial interpretive and technical prowess. This monumental recording project—first instigated by t ...» More

'Here’s something a little bit special to mark the fiftieth anniversary of the death of Percy Grainger … Grainger was a charismatic pianist and a ...'The best of Grainger’s shellac efforts retain their vividness and communicative immediacy. Even if Grainger had never met and befriended Grieg, his i ...» More